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British Brass Band Contest Pieces: a Study in Transcriptions for the American Wind Band Repertoire

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British Brass Band Contest Pieces: a Study in Transcriptions for the American Wind Band Repertoire The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2014 British Brass Band Contest Pieces: A Study in Transcriptions for the American Wind Band Repertoire Jonathan James Helmick University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons, and the Other Music Commons Recommended Citation Helmick, Jonathan James, "British Brass Band Contest Pieces: A Study in Transcriptions for the American Wind Band Repertoire" (2014). Dissertations. 766. https://aquila.usm.edu/dissertations/766 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi BRITISH BRASS BAND CONTEST PIECES: A STUDY IN TRANSCRIPTIONS FOR THE AMERICAN WIND BAND REPERTOIRE by Jonathan James Helmick Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts December 2014 ABSTRACT BRITISH BRASS BAND CONTEST PIECES: A STUDY IN TRANSCRIPTIONS FOR THE AMERICAN WIND BAND REPERTOIRE by Jonathan James Helmick December 2014 This study tests the underlying beliefs and values motivating research and repertoire development as related to the American wind band. It seeks to examine the belief that a sizeable body of quality, original repertoire is the barometer for measuring the success of the American wind band movement. Preliminary research finds an overwhelming emphasis placed on quality original repertoire as the measure of validation for the American wind band. An absence of research on transcriptions and their relationship to the American wind band is evidenced. The utility of the study is related to the value judgment surrounding the musical integrity of transcriptions versus original compositions, as those values and beliefs shape the programming choices of conductors and, consequently, the development of the American wind band as a whole. As a case study, Peter Graham‟s Harrison’s Dream is examined. Harrison’s Dream is the recipient of the 2002 American Bandmasters Association Ostwald Award for wind band composition. This is a unique occurrence, as it is the first international award recipient, and the first transcription to receive the prestigious award since the award‟s inception in 1956. Harrison’s Dream is contextualized by examining the historical development of the British Open Brass Band Championships and the National Brass Band Championships of Great Britain as they relate to championship section test- pieces. This is combined with original research in the form of interviews solicited from three people closely associated with the events surrounding the 2002 American Bandmasters Association Ostwald Award designation: Dr. Thomas Fraschillo, 2001-2002 American Bandmasters Association Ostwald Award committee member; Dr. William Moody, Secretary-Treasurer of the American Bandmasters Association; and Peter Graham, composer of the award winning piece, Harrison’s Dream. Each interview participant offers their perspective on the award designation, the opinion of Harrison’s Dream as a transcription, and their beliefs and values relevant to the original repertoire debate. ii COPYRIGHT BY JONATHAN JAMES HELMICK 2014 The University of Southern Mississippi BRITISH BRASS BAND CONTEST PIECES: A STUDY IN TRANSCRIPTIONS FOR THE AMERICAN WIND BAND REPERTOIRE by Jonathan James Helmick A Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: Dr. Mohamad Schuman________________ Committee Chair Dr. Thomas V. Fraschillo_______________ Dr. Richard H. Perry___________________ Dr. Chris Goertzen____________________ Dr. Daniel Beard______________________ Dr. Karen S. Coats____________________ Dean of the Graduate School December 2014 DEDICATION The reed that does not bend with the wind will surely break. To Ryan Mathews, gone but not forgotten. My family has always been a bastion of support in my life. I am blessed to have parents Linda and James Helmick, my brother Cory Helmick, and grandfather Richard Glowacki in my corner, without exception. Your love and encouragement are my foundation. Everyone has a family of choice, those people that we get to surround ourselves with and are essential to who we are. Travis Scott, Ryan Mathews, Susan Schuman, Zach Hassell, Armando Saldarini, Jessica Pogue, Nate James, James Crocker, Meri Newell, Andy Gilstrap, Rebecca Hillman, Mary Dombroskas, Elizabeth Jackson, Deborah Ingersoll, and so many others. Each of you has enriched my life as my family of choice. To Professors Robert D. Jorgensen, Tucker Jolly, Georgia Peeples, and Richard Shirey, you believed in me during my musical infancy when others would have not shown such charity. You are responsible for introducing me to great music. You are responsible for developing in me the musical confidence that I will share with students entrusted to my care. Mr. Jorgensen, I fell in love with band literature – original works, transcriptions, and the monumental works of the profession – through your baton, long before I made it into your band. Most of all, I have been empowered by the values that you have passed along to me. I will always have your fingerprint on my life, and I am proud of that. Lastly, to Ben Cummins – you have proofread every letter, every vitae, every revision of this document and more. You have laughed with me and shared more of my iii frustration than anyone else could shoulder or understand. Things are never quite as scary when you have a best friend. It is true. iv ACKNOWLEDGMENTS To my doctoral committee, I offer my most sincere and warmest gratitude. This project would not be possible without your efforts and mentorship. With the guidance of Dr. Thomas Fraschillo, Dr. Mohamad Schuman, Dr. Richard Perry, Dr. Christopher Goertzen, and Dr. Danny Beard during this project and my graduate studies, I have grown as a scholar, musician, and steward of our profession. Thank you. I would be remiss if I did not express my appreciation to Dr. Thomas Fraschillo and Dr. Mohamad Schuman. Dr. Fraschillo, you have instilled in me a passion for this profession and what it means to care for students, while maintaining the highest of personal and professional standards. A fierce, unwavering pursuit of excellence characterizes the lives you touch and the music that you make. Dr. Schuman, your charity and humanity has been your greatest lesson for me. Without pause, you accepted the role of committee chair and have shepherded me through one of the greatest milestones in my life. For these, and many other reasons, you are my heroes and my friends. I am indebted to Dr. William Moody, Dr. Peter Graham, and Dr. Thomas Fraschillo for agreeing to be a part of this project. Unflinchingly, you offered your time and thoughts on a topic that targets the foundational values underpinning our profession. Your expertise and insightful contributions give this document immeasurable value. v TABLE OF CONTENTS ABSTRACT ....................................................................................................................... ii DEDICATION ................................................................................................................. iii ACKNOWLEDGMENTS ................................................................................................. v CHAPTER I. INTRODUCTION ..................................................................................... 1 Purpose Research Questions Procedure Limitations Sources of Data Definitions Abbreviations II. EVOLVING THE BRITISH BRASS BAND: CONTESTING AND REPERTOIRE DEVELOPMENT ........................................................... 12 A Brief History of Contesting The British Open Brass Band Championships and the National Brass Band Championships of Great Britain Instrumentation Repertoire Development Summary III. METHODOLOGY .................................................................................. 35 Preliminary Research Research Questions Data Collection Selection of Interview Participants Interview Procedures Verification of Institutional Review Board Compliance IV. INTERVIEW ANALYSIS ....................................................................... 45 Committee Organization Evaluation Process Award Purpose vi An Award Winning Transcription The Composer‟s Perspective V. CONCLUSIONS ...................................................................................... 55 Research Questions Further Research and Development Closing Remarks APPENDIXES ................................................................................................................. 63 BIBLIOGRAPHY .......................................................................................................... 155 vii 1 CHAPTER I INTRODUCTION The American wind band in its modern form, whether with the expanded instrumentation of the concert band, or the reduced and flexible instrumentation of the wind ensemble, is young in comparison to established musical traditions such as the symphony orchestra or the string quartet. That youthfulness has led to an enduring debate over the legitimacy of the American wind band as a musical medium,
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